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The Expressive Phrasing Concepts of Marcel Tabuteau Applied to Concerto in Eb Major for Horn and Orchestra, K

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The Expressive Phrasing Concepts of Marcel Tabuteau Applied to Concerto in Eb Major for Horn and Orchestra, K The Expressive Phrasing Concepts of Marcel Tabuteau Applied to Concerto in Eb Major for Horn and Orchestra, K. 417 by W.A. Mozart D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Joshua P. Michal Graduate Program in Music The Ohio State University 2014 D.M.A. Document Committee: Prof. Bruce Henniss, Advisor Prof. Joe Duchi Dr. Daryl Kinney Dr. Russel Mikkelson Copyright by Joshua P. Michal 2014 Abstract The purpose of this document is to explore the musical concepts of Marcel Tabuteau, a pioneer of the new American tradition of oboe playing in the early twentieth century, and investigate the potential influence his ideas have on the interpretation and performance preparation of Mozart’s Concerto No. 2 in Eb for Horn and Orchestra, K. 417. This document summarizes the highly successful pedagogical method of Marcel Tabuteau and details how this method, when incorporated into a horn teachers pedagogical method, will benefit their students who are preparing for performances and auditions. Most notably, Tabuteau created a system of numbers to describe the shape and direction of a phrase in detail. He also had a keen interest in how notes should be grouped to maximize their expressive quality. Above all, he was fascinated by the concept of creating the sensation of forward motion in a musical line. He believed that motion was essential to performing expressively and was dedicated to teaching this art to his students. Without expression, a musical performance becomes dull and lifeless. Even if the technique is dazzling, the emotion and passion of the music will remain untapped. The expressive quality of the music can be unlocked only through careful preparation and study of the inner workings and underlying harmonies of each phrase. Tabuteau ii demanded that his students play more than just notes on the page and inspired them to look deeper into how each note is connected. His lifelong quest was to develop a method of fully expressing his musical intent, both verbally in lessons and through his oboe on the concert stage. Through careful and thoughtful utilization of his methods, Tabuteau’s legacy of inspiring musicians will continue to advance the artistry of our musical craft today. While some recordings of lessons, interviews and master-classes exist; there is very little original material available. The subject of note grouping, which is the foundation of Tabuteau’s musical concepts, is also lacking in source material. By studying the material created by the students of Tabuteau, however, it is possible to piece together a working knowledge of his pedagogical process that was so highly successful, as evidenced by his students holding positions in many of the major symphony orchestras in the United States. This document incorporates Tabuteau’s musical concepts into a method of interpretation for horn players using Mozart’s Concerto No. 2 in Eb for Horn and Orchestra, K. 417 as an example. iii Dedication This document is dedicated to Mr. Bruce Henniss and the horn studio at The Ohio State University. iv Acknowledgments This document could not have been written without tremendous love, support and encouragement from my wife and best friend, Allyson. I also wish to express my deepest gratitude to my teacher, advisor, mentor, and friend, Bruce Henniss for his unfailing belief and faith in me. Thank you to committee members Joe Duchi, Dr. Daryl Kinney, and Dr. Russel Mikkelson, for their wisdom, inspiration, and advice through the entire DMA process. Thank you to Dean and Jackie Merchant for providing me with a home away from home while completing my DMA and for their incredible generosity - You are wonderful role models to me and I am truly humbled and grateful for your love and support. Special thanks to Jonas Thoms for helping me figure out the frustrating world of Finale software, Reid Knuth for his expertise in harmonic analysis, and Fred Cohen for providing me with new material and a fresh perspective on the subject. Finally, to my family and friends: your unwavering love and enthusiasm through the years is truly a blessing to me. v Vita 2006…………………………..B.M. Horn Performance, Indiana University 2008…………………………..M.M. Horn Performance, Northwestern University 2014 ………………………….D.M.A. Horn Performance, The Ohio State University Fields of Study Major Field: Music vi Table of Contents Abstract .............................................................................................................................. ii Dedication ......................................................................................................................... iv Acknowledgements ............................................................................................................ v Vita .................................................................................................................................... vi List of Figures ................................................................................................................... ix Chapters: 1. Introduction and Survey of Literature ................................................................ 1 2. Marcel Tabuteau – Background ......................................................................... 5 3. Musical Expression .......................................................................................... 10 4. Note Grouping ................................................................................................. 17 5. Bowings ........................................................................................................... 26 6. Drives ............................................................................................................... 31 7. Number System ................................................................................................ 36 Scaling Numbers ......................................................................................... 38 Motion Numbers ......................................................................................... 40 Rhythm Numbers ........................................................................................ 41 Phrasing Numbers ....................................................................................... 42 vii 8. Application of the Numbers ............................................................................. 45 9. Movement 1: Allegro ....................................................................................... 47 10. Movement 2: Andante ...................................................................................... 66 11. Movement 3: Rondo- Allegro .......................................................................... 73 12. Conclusions ...................................................................................................... 94 Bibliography .................................................................................................................... 98 Appendix A: Complete Number System Analysis of Concerto: Movement 1 ............................................................................................ 101 Movement 2 ............................................................................................ 108 Movement 3 ............................................................................................ 111 Appendix B: History ...................................................................................................... 116 viii List of Figures 4.1 Traditional notation .............................................................................................. 17 4.2 Note grouping with brackets ................................................................................ 18 4.3 Words without grouping ...................................................................................... 21 4.4 Words with grouping ........................................................................................... 21 4.5 Counting with numbers ........................................................................................ 22 4.6 Diminishing intensity ............................................................................................ 23 4.7 Note grouping with rhythm numbers ................................................................... 23 4.8 F.J. Haydn, Symphony No. 31: Mvt. 4, mm. 65-68, Horn 2 -Traditional ........................................................................................................... 24 4.9 F.J. Haydn, Symphony No. 31: Mvt. 4, mm. 65-68, Horn 2 -With note grouping ............................................................................................. 25 4.10 Note grouping in various meters .......................................................................... 25 5.1 Bowing pattern ..................................................................................................... 26 6.1 Long tone drive 1-5-1 .......................................................................................... 32 6.2 Long tone drive 1-9-1 .......................................................................................... 33 6.3 Scale drive 1-9-1 .................................................................................................. 33 6.4 Scale drive 9-1-9 .................................................................................................. 34 6.5 P. Tchaikovsky, Symphony No. 5, op. 64: Mvt 2, mm.
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